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Cinema and Film-Drama Therapy Therapy, Social and Artistic Designs, Pliny Perilli

Plinio Perilli during the introductory lecture to the piece
Drama "The Fissatigre" E. Joachim, 2007

The Feb. 3 in Rome, at the In-Out Creative Drama & Theatre (CDIOT), Plinio Perilli will host the presentation of his latest book "Building Gaze "vast repertoire and plot the relationship between the Cinema and other Arts The author will also present the Cinema-Drama Therapy Workshop conducted by the Director of CDIOT, E. Joachim.

@ P. Perilli
that cinema, by its very nature, ritual and imploded, small-or large stage show of Psyche, is equipped or can be anyway used, called for his manly virtues affabulanti, cathartic therapy and therefore, it became clear from the very beginning. What if glittering gags of the first comic Max Linder and Oscar, the huge Charlot, mean and melancholy, the same "lunar" Buster Keaton, the Marx brothers metaphysical, Stan Laurel and Oliver Hardy ... lenivano the historical traumas of the first or existential approach and entry into modernity (and also the hell of the Great War, the purgatory of the postwar period), the great novelists of images caressed by virtue of plot, drama resolved, vicissitude of salvation, the desire and strength to progress that Europe and the World asked all in the bottom 900.

But even here, there size and extent. There was a short film that remains on the surface of the problems and the soul, and others which plunged from a peak within the ganglia of the conflict (social), malaise (individual) - Herr already short of what Nietzsche called "the disease called the man "...

So Modern Times (1936), so to speak, was not only a parody but also the soothing light-hearted and insinuating against the Food Chain and the acceleration of industrial Fordism, and in fact accelerated the alienation of the new world labor ...

By virtue doppiamene Art, the authors devoted to surrealism (Luis Buñuel all) came to beaches and shores of the spirit and mystery knot: restorative exceptional, let us say, for the rest of the car Cinema-always struggling with the most unfathomable power of "genres" ... Think of the great job that a director like Hitchcock played on the hidden psyche of daring and stunning ... Real classics such as Spellbound (1945) or Vertigo - The Woman Who Lived Twice (1958), they give considerable weight. No coincidence that the well-known sequence of the dream that haunts Gregory Peck - in Spellbound - was "designed" by Salvador Dali ... Then when he found other real Decima Musa and their genes as Bergman, Welles, Kubrick and then - could no longer be any doubt: Cinema concealed and protected itself a very strong charge psychotherapy, imaginative, healthy and pure transference in the name of every even grim drama to be dissolved, any yet another comedy to represent, and where perhaps even to ourselves ...

enter Enter, enter - enter directly into the screen and those same stories as leads us to do at the end of the hilarious, self-critical with Woody Allen its very serious and farces with unconventional (Annie Hall, 1977, Manhattan, 1979, above all, The Purple Rose of Cairo, 1985) ...

From We, meanwhile, Toto and Peppino, somehow even the Deaf and Manfredi, Gassman and Tognazzi and all the other musketeers of the "Italian comedy" did a great job if only on the collective unconscious-not to mention the TARE (sometimes on the merits!) of the "costume" ...

But the great directors of the contradictions, ill-treatment of the ego to the incommunicable, more often unacceptable by itself) were Fellini and Antonioni, but also very different assimilated. The sweet life and Eight and a half, The Adventure, The Night, The Eclipse, Red Desert ... film that were in full year '60, Told the best scientists or sociologists of the psyche that torment of a consumer society with the welfare of consumerism, however, inoculated together, even poisons, stress, a thousand untold anxieties.

We look to ferment Italian: a new generation (at that time, the bold young!), That of Marco Bellocchio and Bernardo Bertolucci, the film certainly gave a privileged role in the great social upheaval (especially psychological, introjected) took over and pushed the '68 ... And here too, films like Fists in the Pocket, The Conformist, Last Tango in Paris, had great merit of sincerity and denudation duty.

Pier Paolo Pasolini, meanwhile, continued his great work among combinatorial image and poetry, protest and complaint ... But, listen, listen! - Entrusted to the art. Titles like Ricotta (1963), Hawks and the Sparrows (1966), Teorema (1968), they left their mark.

and many other great tutelary deities continued to question-luckily, our ill-concealed anxiety bourgeois complacency or crisis, our false security, disease diagnosed less ominous but not least ... Ingmar Bergman with between- many other masterpieces - Wild Strawberries, 1958; Cries and Whispers, 1972; Scene from a Marriage, 1973; The mirror image, 1976 ... The same best Kurosawa (Dersu Uzala one example of the little man to the Great Plains, 1970), Jacques Tati Playtime and alienation (1967) ...

For each generation that occurs, the Cinema is, play new chances of stripping the ego, and a hundred imaginatively psychotherapeutic approaches: even secular, mimetic representation (as it once was for the theater!) and much of this malaise. He did Wim Wenders Germany with its still scarred and wounded history, in short, with the angels "human" from Wings of Desire (1987) ... He did more with Pedro Almodóvar beautiful of his films - and a Spain that just emerged from the Franco dictatorship and a gray also of conscience, want to find, fervor, even new nightmares: Women on the Verge of a Nervous Breakdown (1988), All About My Mother (2 000 ) Talk to Her (2002) ...

With Quentin Tarantino, and vice / habit of an all too American, and more than extreme kind "splatter"-we get down to the last step of inferos of a modern, modern 'evil of living "... a violent reaction to the results and a simple and crude violence-thankfully - as ends in un'autoparodia cathartic, an acceleration in plasticity and to play ... It's basically just the technique (possibly the post-modern counter-moral!) of accelerated genre "horror" ... Reservoir Dogs (1992), Pulp Fiction (1994), are fortunately only fiction ... The more we make it there account, the more we move away from our habitat and our hearts ...

Something to identify and stripping away like a cancer, a benign tumor that perhaps the company can not afford, or admit: if not by putting on stage, and dropping it in cauterizing Entertainment, the theater perennial or sudden, transparent or fully pulled down, sweating, events of our existence: "The theater here is the trap" - Shakespeare's Hamlet is saying - "where I will take the conscience of the King" ...

Nothing really good is that inadvertent Cinema, theater transfiguring images. Therapy and empathy absolute, if the viewer / patient trusts you with the serenity of one who also knows and still wants to take the long inner journey.

Recommended text: Plinio Perilli, Building Gaze (synaesthetic History of Cinema in 40 major directors "), Mancosu Group, Rome, 2009.
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